The Smithsonian Jazz Masterworks Orchestra's recent Egyptian concerts made a delicious musical cocktail, imaginatively conceived, brilliantly performed, and very exciting, writes Amal Choucri Catta Cairo Opera House was full for this concert, given by the Smithsonian Jazz Masterworks Orchestra, an 18- member big band under the sensitive baton of Maestro David Baker. However, many members of the audience seemed to be newcomers to the Opera, taking their coffee cups into the Main Hall and spilling drinks onto their chairs while trying to dispose of furs and other items. Perhaps these people were not habitués of the Opera, and while many of them may have been there to see and to be seen they also included jazz fans who might not otherwise attend the Opera's events. On this occasion, though, everyone was happy to hear music by Duke Ellington, Count Basie and Louis "Satchmo" Armstrong, as well as by the other unforgettable names of jazz, whether they were Opera House regulars, visitors, or confirmed jazz fans. Whether you love it or hate it, it has always been impossible to feel neutral about jazz, this music always provoking some strong emotions. At its best, jazz is a truly collaborative endeavour that supports individual expression. Today, it is a global phenomenon, a true world music, that came of age during the last century. The concert presented by the Smithsonian Jazz Masterworks Orchestra must have been one of the most ravishing jazz concerts ever presented at the Opera. The musicians had come all the way from the United States to give three concerts in Egypt, all to celebrate the 20th anniversary of the Opera House: one on 15 February at the Pyramids, one on 17 February in the Main Hall of the Opera, and the final concert on18 February in the Sayed Darwish Theatre in Alexandria. The performances, which were under the auspices of Egypt's First Lady Suzanne Mubarak, took place in cooperation with the American Embassy, the Ministry of Tourism and the Ministry of Culture, and they were also sponsored by various companies. The show was a great event with vocalist Dolores-King Williams, and dancers Chester Whitmore and Shaunte Johnson being reminiscent of good old New York, where young people did the fox-trot, the turkey-trot and the Charleston while pianists played in Harlem and bands expanded to fill huge halls. During the second decade of the 20th century, Ragtime, at its height in New York, inspired a new generation of Harlem pianists, among them Edward "Duke" Ellington, who sat at the feet of his elders, hoping to learn from them. By 1931, Ellington was the leader of one of jazz's top ensembles at Harlem's legendary Cotton Club, and in 1932 he had a hit with "It don't mean a thing if I ain't got that swing." With Benny Goodman and Count Basie, Ellington was a pioneer of the increasingly popular big band music. By 1929, he had been recognised as the creator of some of the best-performed, most adventurously crafted and emotionally serious works ever produced by a large jazz ensemble. He then went right into the Swing Era, which started when Benny Goodman's orchestra opened at the Palomar Ballroom in Los Angeles in 1935 and was given the sort of reception later made famous by Beatlemania. This sent reverberations through the music business, and Goodman was catapulted to national fame. At the Cairo Opera, David Baker gave us music by Duke Ellington, including "Rockin' In Rhythm," "Satin Doll," and "Isfahan" from the "Far-East Suite". He also gave us "Mantera" by Dizzy Gillespie, "Jumpin' At The Woodside" by Count Basie, and many other fascinating melodies, while the remarkable vocalist Dolores-King Williams sang, among others, Basie's "'Deed I Do" and Louis Armstrong's "What a Wonderful World." Louis Armstrong became world famous as a result of his recordings in the 1920s, in which his virtuoso trumpet playing and his idiosyncratic singing had enormous influence on the jazz scene. He formed his All Stars in 1947, and the world applauded him with Bing Crosby and Frank Sinatra in the film High Society in 1956. As if in imitation of "Satchmo's" lead, the Cairo lead trumpeter, Joey Tartell, was notable for his flashy technique and bravura energy. He attacked the solos with boyish zest, as if he could not wait to tell the audience everything he was feeling, while at the same time being sure to show them what he could do. His blend of fire and fun gave an exuberant edge to his performance. Lead alto sax Charlie Young also produced a warm, intense sound in a more whimsical way, generating colour in a thrilling style. Pianist Harry Appelman proved adept at keyboard wizardry, and a strong rhythmic backbone was provided by bass James King and Ken Kimery on the drums. The entire show was a delicious musical cocktail, imaginatively and wittily conceived, brilliantly performed, frequently very exciting, and through and through tremendous fun. Lead trombonist Brent Wallarab was also excellent, as were the fascinating dance sequences by Chester Whitmore and Shaunte Johnson. This spectacle was part of a pure jazz experience, a meeting of spontaneity and virtuosity, with Maestro Baker himself swinging joyfully as he introduced each number on the programme. Baker is an internationally famous composer, conductor, performer, author and educator, and he is Distinguished Professor of Music and Chairman of the Jazz Department at Indiana University School of Music. He is also a veteran of bands such as those of Quincey Jones, Stan Kenton and Lionel Hampton, among others, and he has been transcribing and conducting works from the historical jazz repertory since 1975. The list of Baker's achievements runs to seven books on jazz alone, and he has received various US and international awards. During his visit to Egypt and to Cairo, he was above all a much-loved maestro, who received numerous ovations and led his orchestra, vocalist and dancers to sublime heights. The Smithsonian Masterworks Orchestra, conductor David Baker, in "Jazz on the Nile." Sound and Light Theatre, the Pyramids, 15 February; Main Hall, Cairo Opera House, 17 February; Sayed Darwish Theatre, Alexandria, 18 February.
